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Design
History and Design Orientation
Within
visual arts, a first step toward learning begins with unlearning
older values and replacing them with new ones. During the
years immediately following World War II, most design students
came to education with some predictable preconceptions about
art and design, but it was not particularly difficult to move
them into new directions.
During the 1950s, graphic design was distinct from advertising
allowing students to clearly identify the profession along
with its leaders and role models. Graphic design students
regularly followed the professional work of men such as Golden,
Beale, Lustig, Bayer, Lionni, Bass, Rand, Chermayeff &
Geismar among others. The Fifty Best Books of the Year
exhibition and other design functions sponsored by the American
Institute of Graphic Arts were eagerly anticipated. Students
read Graphis, Typographia, and other design
journals from abroad. It was thought that the most advanced
graphic design was being done in Europe. The primary job market
for graphic design graduates in America at the time was in
corporate design with some moving into architectural offices,
publishing, education and government.
The
Unlearning Process
Presently, students come to the university saturated with
a disparate array of visual imagery from television, videos,
film, computers and print. Graphic design is not clearly defined,
standards for performance are confusing or misleading and
there are few notable role models. Consequently, the visual
values of entering students are muddled. The unlearning process
is considerably more extended than previously. These conditions
suggests the need for an education which reduces visual chaos
and provides focus, instruction in basic visual values, and
if currently there are no outstanding designers, students
should be exposed to the best role models of the past. A factor
creating present difficulties for graphic design education
is confusion between design as a problem-solving function
and design as a marketing tool. In many respects, advertising
has usurped the term graphic design without changing any of
the marketing objectives, values or practices. At most major
cities, older Art Directors Clubs are now called Chapters
of the American Institute of Graphic Arts–a traditional
graphic design organization. What formerly were called art
studios are now identified as graphic design studios. Educational
programs in advertising design also changed their designation
to graphic design but continue to prepare students for careers
in advertising. Many former job opportunities as corporate
designers disappeared so more graphic designers moved into
marketing design which further adds to the confusion between
advertising and graphic design.
Graphic
Design: Multiple Categories
From its inception, graphic design has been associated
with other design fields, printing, book design, architecture
and the crafts. As such, it has been identified with problem-solving,
function and formal values. It has been an intra-disciplinary
profession based on visual communication using design, typography,
printing, photography, film, video, and most recently, electronic
imagery. Although most graphic design programs have been part
of fine art departments in the past, it seems more logical
for graphic design to be associated with a school of design
or a college of architecture..
Advertising design programs historically have been
incorporated into the fine arts. The first commercial illustrations
were commissioned by advertising agents from illustrators
or painters. The relationship between art and advertising
is there because of the visual aspects of marketing including
illustration and rendering. Advertising design students were
expected to carry many fine art courses in drawing, painting
and art history. These were supplemented with courses in illustration,
calligraphy or lettering, layout and design. More recently,
business and marketing strategies have been added to the curriculum,
especially at universities. The objective for advertising
is sales, so that becomes the most important criteria for
evaluating the quality of advertising design–if it sells,
it is good design!
What graphic design students require today goes far beyond
instruction in visual principles or the professional/technical
aspects of design. There has never been a period of greater
need for professional ethics, high performance standards,
exemplary values and a clear understanding of career goals
than now. Good role models are essential to communicating
these traits to students. It is amply apparent that for students
to better cope with the present, it is going to be necessary
to provide them with greater exposure to the past. Beginning
in the mid to late 1960s, there was a growing perception among
graphic design educators that there was an obvious need for
developing a Design History and bringing it into the curriculum.
The precedent at most institutions had been to require several
Art History courses for all art students including those majoring
in design programs.
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